Robbie Robertson: In The Blood

This will be helpful the blood is thin in Native American’s:

This is from the Association on American Indian Affairs

What is blood quantum?

Blood quantum refers to amount of Indian blood. For example, if your grandmother is 100% Indian, your mother or father would be ½, and you would be ¼ (assuming they were not married to another person of Indian descent.) The paperwork related to this is most often referred to as CIB (Certificate of Indian Blood).

How do I get a Certificate of Indian Blood (CIB)?

A CIB can be often be obtained from the BIA (Bureau of Indian Affairs). Send your birth certificate, your Indian parents’ birth certificate and if available, Indian grandparents’ birth certificate (otherwise their name and birthday), to the Regional BIA office for the state where your ancestors are from. If your ancestors were on any of the census rolls the BIA may be able to provide you with information about your tribe(s) and percentage(s) of Indian blood. You may want to see our website section “Researching Your Ancestry”.

Can blood tests be used to determine ancestry?

Blood tests can be performed to determine Indian descent for those people interested in determining their ancestry. This test, which can be ordered by your doctor, shows markers on the DNA which are characteristic of people of Indian ancestry. This test does not necessarily indicate what tribe you are from or quantity of Indian blood. Results from this test cannot be used to apply for AAIA scholarships.

Who can I contact regarding health services for American Indians and Alaska Natives?

Office of Minority Health Resource Center
P.O. Box 37337
Washington, DC 20013-7337
Indian Health Services (HQ)
US Department of Health & Human Services
Administration for Native Americans
330 Independence Ave., SW
Washington, DC 20201.
(202) 690-7776
Indian Health Services (HQ)
The Reyes Building
801 Thompson Avenue, Suite 400
Rockville, MD 20852-1627

American Indian and Alaska Native Programs
at the Colorado School of Public Health (CSPH)
American Indian and Alaska Native Programs
Mail Stop F800
Nighthorse Campbell Native Health Building
13055 E. 17th Avenue
Aurora, CO 80045
Phone: 303.724.1414

Center for American Indian Health
The Johns Hopkins School of Public Health
615 N. Wolfe Street
Baltimore, MD 21205
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Robbie Robertson: Ghost Dance

Ghost Dance:

The Ghost Dance (also called the Ghost Dance of 1890) was a religious movement which was incorporated into numerous Native American belief systems. The traditional ritual used in the Ghost Dance, the circle dance, has been used by many Native Americans since prehistoric times. In accordance with the prophet Jack Wilson (Wovoka)‘s teachings, it was first practiced for the Ghost Dance among the Nevada Paiute in 1889. The practice swept throughout much of the Western United States, quickly reaching areas of California and Oklahoma. As the Ghost Dance spread from its original source, Native American tribes synthesized selective aspects of the ritual with their own beliefs. This process often created change in both the society that integrated it, and in the ritual itself.

Jack Wilson’s vision:

Jack Wilson, the prophet formerly known as Wovoka, was believed to have had a vision during a solar eclipse on January 1, 1889. It was reportedly not his first time experiencing a vision directly from God; but as a young adult, he claimed that he was then better equipped, spiritually, to handle this message. Jack had received training from an experienced holy man under his parents’ guidance after they realized that he was having difficulty interpreting his previous visions. Jack was also training to be a “weather doctor”, following in his father’s footsteps. He was known throughout Mason Valley as a gifted and blessed young leader. Preaching a message of universal love, he often presided over circle dances, which symbolized the sun’s heavenly path across the sky.

Wilson said he stood before God in heaven and had seen many of his ancestors engaged in their favorite pastimes. God showed Wilson a beautiful land filled with wild game and instructed him to return home to tell his people that they must love each other, not fight, and live in peace with the whites. God also stated that the people must work, not steal or lie, and that they must not engage in the old practices of war or the traditional self-mutilation practices connected with mourning the dead. God said that if his people abided by these rules, they would be united with their friends and family in the other world.

In God’s presence, there would be no sickness, disease, or old age. Wilson was given the Ghost Dance and commanded to take it back to his people. He preached that if the five-day dance was performed in the proper intervals, the performers would secure their happiness and hasten the reunion of the living and deceased. Wilson said that God gave him powers over the weather and that he would be the deputy in charge of affairs in the western United States, leaving current President Harrison as God’s deputy in the East. Jack claims that he was then told to return home and preach God’s message.

Jack Wilson claimed to have left the presence of God convinced that if every Indian in the West danced the new dance to “hasten the event”, all evil in the world would be swept away, leaving a renewed Earth filled with food, love, and faith. Quickly accepted by his Paiute brethren, the new religion was termed “Dance In A Circle”. Because the first European contact with the practice came by way of the Sioux, their expression Spirit Dance was adopted as a descriptive title for all such practices.

This was subsequently translated as “Ghost Dance”.

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Robbie Robertson: Unbound

Jane Brunette

Writer and meditation teacher at  (from Mark, you might be my cousin but you’re a sister to me)

Recognizing That We Are All Buddhas: The Path To Fearlessness

Most of us were good at playing games of pretend as children and as adults, that skill can be harnessed to take powerful leaps in consciousness. Just as we can suspend our disbelief as we watch a movie and enter the lives of characters as real people, we can suspend our disbelief by putting on hold our view of a sullied world full of bad people and enter a new “movie” filled with pure beings. The “game” I describe here is the Buddhist practice of pure view in which we use all of our imaginative faculties to help us let go of distorted thinking and perceive something closer to the truth of how things actually exist. In a sense, we “pretend” the truth until we can fully live it.

Normally we see the world through our false projections. These feel true because they are familiar, but they are actually distortions born of conditioning and negative habits of mind. Such projections are not indications of anything fundamentally wrong with us — they are just part of being human. We have survival instincts that bring up fear and confusion, and this gets in the way of clear seeing. Especially when things seem ominous and frightening — either personally or collectively — our fear can drain us of our power to shift things in a more wholesome, satisfying direction. Practicing pure view is a way of investigating the truth of our fearful projections and trying on another way of seeing the world.

So what exactly is pure view? In its simplest form, pure view means seeing the world as pure. To practice, We take this attitude while doing ordinary activities:

    • All beings are Buddhas, here to guide us to our fullest spiritual potential.
  • All situations and environments are pure in that they are perfectly set up to awaken our hearts and our wisdom.

If you are uncomfortable with perceiving beings as Buddhas, it’s fine to use whatever symbol of purity touches you. For example, you can think of all beings as saints. Those who are obviously loving and wise are easy to see this way. But pure view means we also see those who are difficult or even violent as Buddhas and saints: They present fierce, distorted faces in order to awaken our wisdom and compassion. They also help us develop skillful means for dealing with all the energies of creation.

One great example of pure view was demonstrated by Julio Diaz when he was mugged in a New York subway station. When a young man pulled a knife and demanded his wallet, Julio offered his coat as well, and then offered to take the mugger to dinner. (Listen to Julio powerfully tell his story in his own voice.) What allowed Julio to see through his fear to the purity and potential for goodness behind the mugger’s behavior? It’s clear that he had been practicing such an attitude for a long time and under stress, it was automatic for him. His attitude alone turned the subway incident from just another case of violence into a profound moment of change for a confused young man. It also gave Julio a power more potent than weapons and the instinctive reactions born of fear: He turned this situation around using nothing but his compassionate attitude.

Julio’s action was advanced, so please don’t think you have to start with a mugger. Rather, begin by trying this attitude on in a situation when your fear isn’t triggered and you’re feeling relatively neutral. You can play this game in line at the grocery store, while you’re at work, or in your own home:

    • Look at those around you as Buddhas or saints disguised as ordinary humans, here to guide you and bring you to Buddhahood (or sainthood).
    • Now play it out. How do you treat them when you think of them this way? What happens when you open to them, when you are receptive to what they can teach you, when you recognize and let go of your judgments and assumptions through this game of pretend?

          Begin with neutral people, with those you respect, those you love, and finally with those who are difficult for you. Pretend the way you did as a child — using all of your imaginative faculties — until you truly see them as saints in disguise. Remember that it is not necessary to

believe any of this to be true, but only to preten it is true and use it as a lens through which to look at the world. To be effective practice, your pretend can’t be lukewarm:

You need to suspend your disbelief as thoroughly as you do when watching a good movie and really let your imagination do its work. Muggers or saints? It’s up to each of us to choose the movie we want to live.

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Robbie Robertson: Go Back To Your Woods

Storyville was the red-light district of New Orleans, Louisiana, from 1897 through 1917.

Locals usually simply referred to the area as The District. The nickname Storyville was in reference to city alderman Sidney Story, who wrote the legislation setting up the district. It was bounded by Iberville, Basin, St. Louis, and N. Robertson streets.  Most of this former district is now occupied by the Iberville Housing Projects, two blocks inland from the French Quarter.

The District was set up to limit prostitution to one area of town where authorities could monitor and regulate the practice. In the late 1890s, the New Orleans city government studied the legalized red light districts of northern German and Dutch ports and set up Storyville based on such models.

Between 1895 and 1915, “blue books” were published in Storyville. These books were guides to prostitution for visitors to the district’s services including house descriptions, prices, particular services and the “stock” each house had to offer. The Storyville blue-books were inscribed with the motto: “Order of the Garter:

In the early days of World War I, four soldiers were killed within the District within weeks of each other; both the Army and Navy subsequently demanded that Storyville be closed down. Secretary of the Navy Josephus Daniels cited the district as a “bad influence” during World War I in 1917. The closure was over the strong objections of the New Orleans city government; New Orleans Mayor Martin Behrman pronounced that, “you can make prostitution illegal, but you can’t make it unpopular.” After 1917, when Storyville was shut down, separate black and white underground dens of prostitution emerged around the city.

William J. Toye painted several paintings of Storyville, which were ruined less than two weeks before he was to exhibit them in 1969. A collection of photographs by E. J. Bellocq depicting Storyville prostitutes was published in 1971 under the title Storyville Portraits.

Films with fictional portrayals of Storyville have included New Orleans (1947), Pretty Baby (1978), and Storyville (1992).

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